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| committer | nfenwick <nfenwick@pglaf.org> | 2025-02-11 02:21:04 -0800 |
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diff --git a/75345-h/75345-h.htm b/75345-h/75345-h.htm new file mode 100644 index 0000000..5ff9d0f --- /dev/null +++ b/75345-h/75345-h.htm @@ -0,0 +1,1133 @@ +<!DOCTYPE html> +<html lang="en"> + <head> + <meta charset="UTF-8"> + <title>The Process of Gilding and Bronzing Picture Frames | Project Gutenberg</title> + <link rel="icon" href="images/cover.jpg" type="image/x-cover"> + <style> + body { margin-left: 8%; margin-right: 8%; } + h1 { text-align: center; font-weight: normal; font-size: 1.4em; } + h2 { text-align: center; font-weight: normal; font-size: 1.2em; } + h3 { text-align: center; font-weight: normal; font-size: 1.2em; } + p { text-indent: 0; margin-top: 0.5em; margin-bottom: 0.5em; text-align: justify; } + .fss { font-size: 75%; } + .sc { font-variant: small-caps; } + ul.ul_1 {padding-left: 0; margin-left: 2.78%; margin-top: .5em; + margin-bottom: .5em; list-style-type: disc; } + div.pbb { page-break-before: always; } + hr.pb { border: none; border-bottom: thin solid; margin-bottom: 1em; } + .x-ebookmaker hr.pb { display: none; } + .chapter { clear: both; page-break-before: always; } + .figcenter { clear: both; max-width: 100%; margin: 2em auto; text-align: center; } + .figcenter img { max-width: 100%; height: auto; } + .id001 { width:480px; } + .id002 { width:400px; } + .id003 { width:160px; } + .x-ebookmaker .id001 { margin-left:0%; width:100%; } + .x-ebookmaker .id002 { margin-left:7%; width:85%; } + .x-ebookmaker .id003 { margin-left:32%; width:35%; } + .ig001 { width:100%; } + .nf-center { text-align: center; } + .nf-center-c0 { text-align: left; margin: 0.5em 0; } + .c000 { margin-top: 1em; } + .c001 { page-break-before: always; margin-top: 4em; } + .c002 { font-size: 70%; } + .c003 { font-size: 100%; } + .c004 { font-size: 215%; } + .c005 { font-size: 125%; } + .c006 { border: none; border-bottom: thin solid; margin-top: 1em; + margin-bottom: 1em; margin-left: 42%; width: 15%; margin-right: 43%; + margin-top: 4em; } + .c007 { margin-top: 4em; } + .c008 { page-break-before:auto; margin-top: 4em; } + .c009 { margin-top: 2em; text-indent: 1em; margin-bottom: 0.37em; } + .c010 { text-indent: 1em; margin-top: 0.37em; margin-bottom: 0.37em; } + .c011 { page-break-before: always; margin-top: 2em; } + .c012 { margin-top: 1em; text-indent: 1em; margin-bottom: 0.37em; } + .tnbox { border:1px solid silver; padding: 0.5em; margin:2em 10% 0 10%; } + h1 { line-height: 1.85em; } + </style> + </head> + <body> +<div style='text-align:center'>*** START OF THE PROJECT GUTENBERG EBOOK 75345 ***</div> + +<div class='figcenter id001'> +<img src='images/cover.jpg' alt='' class='ig001'> +</div> +<div class='pbb'> + <hr class='pb c000'> +</div> + +<div class='figcenter id002'> +<img src='images/title.png' alt='' class='ig001'> +</div> +<div class='pbb'> + <hr class='pb c000'> +</div> + +<div> + <h1 class='c001'><span class='c002'>THE</span><br> <br><span class='c003'>PROCESS OF</span><br> <br><span class='c004'>Gilding and Bronzing</span><br> <br><span class='c005'>PICTURE FRAMES.</span></h1> +</div> + +<hr class='c006'> + +<div class='nf-center-c0'> +<div class='nf-center c007'> + <div>New York:</div> + <div>GEORGE F. NESBITT & CO., PRINTERS</div> + <div>COR. PEARL AND PINE STREETS.</div> + <div class='c000'>1884.</div> + </div> +</div> + +<div class='pbb'> + <hr class='pb c007'> +</div> + +<div class='nf-center-c0'> +<div class='nf-center c007'> + <div>Entered according to Act of Congress in the year 1884, by</div> + <div>ISAAC H. WALKER,</div> + <div>In the office of the Librarian of Congress at Washington.</div> + </div> +</div> + +<div class='pbb'> + <hr class='pb c007'> +</div> + +<div class='chapter'> + <h2 class='c008'>PRELIMINARY REMARKS <br> <br> ON <br> <br> Gilding and Bronzing.</h2> +</div> + +<p class='c009'>The art of gilding has been practiced from the +earliest dates. Mention of it is made in the Scriptures, +and it was known to the Egyptians, who made +an extensive use of it in the ornamentation of their +burial cases. It became to be generally used amongst +the Romans soon after the downfall of Carthage, and +was applied very profusely to the decoration of their +dwellings and temples.</p> + +<p class='c010'>During the middle ages, and when the seats of +learning and civilization were located in Italy and +among the Moorish Arabs in Spain, the most elaborate +use of it was made in almost every branch of +art. It entered largely into architectural decoration, +and the cathedrals and mosques were favorite objects +for its display.</p> + +<p class='c010'>Among the Chinese, the use of gold leaf as a +method of decoration has been practiced for an indefinite +period, and its origin with them must be very +ancient. Taken altogether, gilding is an art that has +been and still is in more general use than any other; +and the reason is, that it is almost always appropriate +wherever called into requisition.</p> + +<p class='c010'>The art of gilding and of bronzing can readily be +acquired by any one who is disposed to devote care +and attention to it. It is an art having few, if any, +amateurs. Those who practice it are generally those +who follow it as a trade, and, perhaps, for the reason +that such persons have but little time to spare from +their profession, there is so little written information +found on the subject.</p> + +<p class='c010'>The cyclopædias are exceedingly deficient in everything +like a correct or reliable description of the art. +The information which they give is mostly of an elementary +character, and of a kind that is somewhat +impracticable and very unavailable.</p> + +<p class='c010'>It was the want of a reliable work on the subject +that suggested to me the publication of such a general +exposition of the whole matter as would prove useful +to those who might desire to be informed on it. I do +not propose to do more than give a description of the +various processes, and to endeavor to make such a +description as simple and lucid as possible. It is no +part of a gilders business to make the frame which +he has to gild. Such used to be the case, but now +there are factories where the frame is turned out +completely made. There are a number of such factories +in New York, and the person requiring a frame +has only to select the desired pattern and have it +made up according to the dimensions of the picture +to be framed. Neither do I think it necessary to introduce +the subject of preparing those materials which +are made expressly for the purpose by regular dealers, +and which, of course, will then be found more reliable +than when made by inexperienced hands. There +are several respectable dealers in New York who keep +for sale almost everything connected with the gilding +and bronzing processes.</p> + +<p class='c010'>At a time when every one is more or less interested +in the subject of decorative art, and when many are +seeking to qualify themselves towards proficiency in +some one or other branch of it, perhaps no more appropriate +subject could be offered to the public than +that of gilding a picture-frame in all its parts.</p> + +<p class='c010'>No fine picture should be without a fine frame, and +even with a fine frame an indifferent picture is very +much improved; but taste and discernment are both +required in the selection of such a frame as either a +fine or an indifferent picture may require; and, although +the artist in general is supposed to be the +best qualified to determine as to the manner in which +his painting should be framed, the frame-maker is +really more competent for that duty, and for the best +of all reasons—that it is his specialty.</p> + +<p class='c010'>Frames gilded in different colors of gold leaf are +frequently seen, and, for some subjects, such frames +may do very well; but, in general, the deep-colored +gold is the most appropriate, and is the better suited +to remain in favor with the public. There can hardly +be anything richer than a frame finished in burnished +and matted gold of a deep shade of color.</p> + +<p class='c010'>Bronze frames, which have recently come so much +into vogue, are destined to retain their hold upon the +public esteem for a long time. They are a separate +style of decoration, one that is very rich, and which +admits of great variety in the preparation, and they +are particularly appropriate to many subjects, such +as water colors and engravings.</p> + +<p class='c010'>The art of their preparation is comparatively new +to this country, although it has been practiced for a +long time in Europe; where, perhaps, the best work is +yet done. It has hitherto been kept a profound secret +by its votaries, and it has been a very difficult proceeding +for an amateur to obtain the least insight into +it. It is said that some bronzers, when practicing the +art, shut themselves apart, in order to prevent their +operations being watched. There is really no reason +for so much secrecy on the part of those who have +become possessed of the information concerning this +process, for the process is, in fact, a very simple one. +It does not require anything like the manipulation +which gilding requires. It is rather more laborious, +however, as the amount of burnishing of which it is +susceptible is almost unlimited. This, however, is +not labor lost, as it serves to enhance the attractiveness +of the frame when finished.</p> + +<p class='c010'>It is the practice to use different colored bronze +powders in combination, and these combinations are +very rich in their effect. The silver, copper and verde-antique +make rich contrasts. There is a great field +for the exercise of taste in the bronzing process, and +those who are adepts in it can command high prices +for their work. The only drawback, and it is equally +a drawback to many other excellent processes, is, that +its popularity has been the means of causing a vast +deal of cheap and inferior work to be brought before +the public; but work that is really fine will continue +to be regarded with favor wherever it may be found.</p> + +<div class='figcenter id003'> +<img src='images/i_07_pp.png' alt='' class='ig001'> +</div> + +<div class='pbb'> + <hr class='pb c000'> +</div> + +<div class='chapter'> + <h2 class='c008'>THE GILDING PROCESS.</h2> +</div> + +<h3 class='c011'>I.</h3> + +<p class='c012'>I will now proceed to give a list and description of +the various implements and materials which are required +in the process of gilding picture frames.</p> + +<p class='c010'>1.—<span class='sc'>A Gilding Cushion</span>, on which to lay the leaves +of gold preparatory to cutting them into the sizes +required for laying. This may be procured already +made. It is made of a board one-half inch thick and +nine and one-half inches long by five and one-half +inches wide, covered with buckskin and padded with +several thicknesses of Canton flannel. It usually has +a shield of parchment, about four inches high, on one +end, to protect the leaves from currents of air. Underneath, +is a loop for the thumb, which is to be inserted +in it when the cushion is to be held in the hand. +There is also another loop to hold the gilding knife +when not in use.</p> + +<p class='c010'>2.—<span class='sc'>A Gilding Knife</span>, for cutting the gold leaf. It +should be double-edged and have a tolerably keen +edge; not so much so as to cut the cushion, but sufficiently +so to divide the leaf without tearing it. +When it becomes dull it may be readily sharpened by +rubbing the edges with a piece of very fine sand paper.</p> + +<p class='c010'>3.—<span class='sc'>Brushes</span>, both bristle and camel’s hair. Numbers +4 and 5, of the bristle brushes, flat, are the sizes +mostly required, either for applying the white coat or +the oil-size. For the camel’s hair brushes, numbers +4, 5 and 6 are very useful, as well as a number 6 or 8 +lettering pencil (brush); also several fitch blenders, +numbers 9 and 10 are good sizes; procure one of each.</p> + +<p class='c010'>4.—<span class='sc'>Burnishers.</span> These must be of several shapes +and sizes. Every gilder will become accustomed to +some particular shape and size, and practice only will +determine the most desirable one; but for ordinary +use, the following <i>shapes</i> and <i>sizes</i> will be found sufficient +for almost any work:</p> + +<div class='figcenter id002'> +<img src='images/i_10_pp.png' alt='Three burnishers of differing thickness and shape, particularly the tapering of the tip' class='ig001'> +</div> + +<p class='c010'>The burnishers should be made of flint, though agate +is frequently used, particularly for burnishing silver +leaf. They should be securely fastened in wooden +handles by means of brass ferrules. These handles, +as well as the stones, frequently become loosened from +continual use and require refastening. This is done +by renewing the filling with gum shellac or powdered +rosin, and applying sufficient heat to set the stones. +On cooling, they will be found to be again firm in +their sockets. The same method may be pursued with +regard to the handle. A little brick-dust mixed with +the rosin gives a more secure hold.</p> + +<p class='c010'>Burnishers, contrary to the general opinion of those +who manufacture and sell them, should not be too +highly polished, but the surface should be rather dull, +as in this condition they take a better hold on the +gold. If they have too much polish, they glide over +the leaf without burnishing it. The polish may be +subdued or removed by rubbing the burnishers with +crocus martis and oil spread upon a chamois-skin. +Care must, of course, be exercised in the operation, +or too much of the polish will be removed and the +burnisher will require to be repolished. It is, perhaps, +needless to say that the burnishers should be +kept scrupulously clean and free from everything like +moisture and grease.</p> + +<p class='c010'>5.—<span class='sc'>Tips.</span> These are made of both camel’s hair and +badger hair. They are used to lift the gold leaf from +the cushion, after it has been suitably cut, and to apply +it to the surface prepared to receive it. When they do +not freely take up the leaf, it is customary to pass them +across the hair of the head, when they receive sufficient +electricity from it to attach the gold at once to +them. This attraction has been attributed to the +moisture which the tips receive from the hair, but I +think the notion is a mistaken one. The tips evidently +become electrified, for they will, in that condition, +attract the gold at some distance off. Moisture +would not produce this effect. The camel’s hair tips +are the best to use. Several of them will be required. +It is a good plan to cut an old one down to +within an inch and a half of the paste-board handle, +and so use it, when very narrow slips of the leaf are +being used; they can be lifted better and more safely +with such a contrivance. In all cases, the tip should +not be applied to more of the gold to be raised by it +than is actually necessary for the purpose.</p> + +<p class='c010'>6.—<span class='sc'>Some Glue</span>, of the best white quality. Many +gilders use gelatine instead of glue. For mixing +with the burnish-size, the gelatine is undoubtedly the +more desirable. The glue should be naturally white, +not artificially so-colored; and it should be free from +all grit and sediment. Cooper’s make, of both glue +and gelatine, is undoubtedly the best, for all purposes +of gilding. It acts more uniformly and is altogether +the most reliable.</p> + +<p class='c010'>7.—<span class='sc'>Pipe Clay</span>, for coating the composition parts +of the frame. It usually comes in lumps and must +be allowed to soak before mixing. The pipe clay has +superseded the use of whiting for the two primary +white coats to a frame. It is free from all grit, whilst +whiting is not, and it gives a soft, smooth surface for +the layer of gold leaf.</p> + +<p class='c010'>8.—<span class='sc'>Paris White</span>, or whiting. This is used for +stopping up holes and other imperfections in the +frame. It has more body than the pipe clay, and for +that reason is used instead of it. Paris white is simply +whiting precipitated in powder, and it is consequently +freer from grit and other impurities.</p> + +<p class='c010'>9.—<span class='sc'>Oil-size.</span> This is used for giving the adhesive +coat to which the gold is applied when laid in oil.</p> + +<p class='c010'>10.—<span class='sc'>Burnish-size.</span> Used for giving the coat to +which the gold is applied when a burnished surface +is required.</p> + +<p class='c010'>11.—<span class='sc'>Cotton batting</span>, of a good quality. This is +used for pressing down the gold leaf when it is being +laid in oil.</p> + +<p class='c010'>12.—<span class='sc'>Gold Leaf</span>, of the best quality of deep-colored +gold. The leaf comes done up in books of twenty-five +leaves each, and made into packs of twenty books +each.</p> + +<p class='c010'>13.—<span class='sc'>An Ox-Gall</span>, strained into a bottle, with about +two teaspoonfuls of carbolic acid to preserve it from +decomposition. This, mixed with the white coat and +the clear size, will prevent pin-holes and frothing. +Some gilders use alcohol and even spirits of turpentine +for this purpose; vinegar has also been recommended, +but, after a thorough trial of all of them, I +feel confident that the best results will be had with +the ox-gall.</p> + +<p class='c010'>14.—<span class='sc'>Carbolic Acid.</span> The crystallized form is the +best to use. It comes in bottles of a pound weight. +It must be melted by placing the bottle in hot water; +and, when the fluid condition takes place, add some +water, when the whole mass will remain fluid. This +is a perfect antiseptic and very useful to mix with the +glue and gelatine, which are thereby preserved from +decomposition.</p> + +<p class='c010'>15.—<span class='sc'>Sand Paper</span>; numbers 0, ½ and 1.</p> + +<p class='c010'>16.—<span class='sc'>Alcohol</span>, of the highest proof. This is used +in laying the gold leaf which is to be burnished.</p> + +<p class='c010'>17.—<span class='sc'>Japan</span> gold size.</p> + +<p class='c010'>18.—<span class='sc'>Shellac Varnish</span>, both the brown and the +white.</p> + +<p class='c010'>19.—<span class='sc'>Burnish-size Strainer.</span></p> + +<p class='c010'>20.—<span class='sc'>Several Cups</span>, for mixing the different preparations. +It is well to have covers for them, as all +the preparations should be effectually protected from +dust.</p> + +<p class='c010'>21.—<span class='sc'>A Graduated Glass Measure</span>; one of four +ounces capacity is the most useful.</p> + +<p class='c010'>22.—<span class='sc'>Spoons</span>, for mixing with. The tea size is the +best for general use.</p> + +<h3 class='c011'>II.</h3> + +<p class='c012'>The burnish-size should be always kept in a china +or earthenware jar. If kept in a tin vessel, its moisture +causes the tin to rust, and the deposit caused by +the rust is highly injurious to the size. The oil-size +may be kept in a tin vessel provided with a cover. +When this size is required for use, it should be thoroughly +stirred up, as the coloring matter of which it is in +part composed, being the heaviest, has a tendency to +settle and to leave the pure oil on the surface. Take +out only a sufficient quantity for immediate use, as it +sets quite rapidly, particularly in warm weather; and +do not return any that may be left, back to the original +vessel containing the size. Pay no attention to +the skin which from time to time forms on the surface, +when not in use.</p> + +<h3 class='c011'>III.</h3> + +<p class='c012'>We will now proceed in earnest to the serious work +of gilding a picture frame.</p> + +<p class='c010'>1.—Commence by weighing out one ounce and a +half of glue or gelatine. Put this into a cup and +pour over it eight ounces of water by measurement. +This of course you will do with the aid of your graduated +glass measure. Let the glue soak for several +hours, and then set the cup in a pan of water and expose +it to heat until the glue becomes perfectly fluid +and completely melted. A teaspoonful of carbolic +acid must now be stirred into it and thoroughly incorporated +with it. The acid will preserve it, as already +stated, from decomposition, and most effectually so +and for any length of time. This glue should be +strained before being used. Whenever a portion of +it will be required for the preparations herein described, +it is well to take out as much only as may be +wanted for use, leaving the balance untouched; as by +so doing its purity can be relied upon, and besides, +the oftener glue is melted the weaker it becomes.</p> + +<p class='c010'>2.—Lay down the frame which is to be gilded, back +up, and, with a pencil, mark a line across the sections, +if there be any, so as to be enabled to return them to +their correct positions when ready to do so. Next, +draw out the nails which fasten the sections together, +and then take them apart. Now turn the sections +face up and proceed to fill up any nail-holes about the +corners, where the sides have been joined together, as +well as all imperfections which may be found to exist. +There are often fractures and indentations to be +found, and these must be carefully repaired and the +frame, or its several parts, made as perfect as can be. +The joining at the corner must be filled up and made +to appear solid.</p> + +<p class='c010'>3.—The preparation with which all this is to be +done is made as follows:</p> + +<p class='c010'>Mix some of the Paris white with just sufficient +water to moisten it thoroughly, and then add enough +of the glue which has been described, and which has +been melted for the purpose, to make the mixture +into a thick paste. The Paris white might be mixed +at once with the glue, but it does not seem to combine +so well as when it has been previously moistened with +water. It will be too lumpy and full of undissolved +particles, unless mixed with the fingers; which operation +would be generally objectionable. The paste +should be just thick enough not to run.</p> + +<p class='c010'>4.—Now proceed to fill up the nail-holes, corner +joints and all other visible imperfections with this +mixture; either by applying it with a small bristle +brush and laying on a sufficient quantity, until the +required places are fully stopped up, and, when perfectly +dry, sand-papering them down smooth and uniform, +or by applying it like putty, with the fingers. +The latter method is not recommended, as it requires +a peculiar facility in the management, which can only +be acquired by considerable practice, and besides, it +does not give as good results.</p> + +<p class='c010'>5.—After smoothing down the fillings-up, the flats +and hollows of the frame should be gone over first +with number 0 sand-paper, and afterwards with a +moistened rag, and be rubbed perfectly smooth and +even and until the surface appears polished.</p> + +<p class='c010'>6.—The frame will now be ready for the white +coat, which must be prepared in the following manner +and then applied to the composition parts only:</p> + +<p class='c010'>Soak some of the pipe clay in water, barely enough +of the latter to moisten the clay thoroughly, and then +add enough of the glue, already prepared and in so +hot a state as to render it of the consistency of thin +cream; and add also a teaspoonful of the ox-gall, to +prevent pin-holes forming and to keep it from frothing. +A little practice will be required to determine +invariably the requisite consistency, but the above +directions will give a satisfactory result. The object +of these two preliminary white coats is to kill any +grease which may still adhere to the moulding, and +which would otherwise prevent the proper drying of +the oil-size. They also serve to give a soft and +smooth appearance to these parts. The mixture as +described must be applied warm, with a bristle brush +(number 4 will do for the purpose), to all the composition +parts of the frame. Apply this mixture sparingly, +but sufficiently to cover the parts completely, +and be careful to avoid bubbles while applying it. +When the first coat is perfectly dry, apply the second.</p> + +<p class='c010'>7.—When the last white coat is perfectly dry, two +coats of clear size should be applied all over these +portions which are to receive a coat of oil-size. Even +where a portion of the composition is to be burnished, +(which process is done in water,) it is better to go all +over these parts with the clear size; but the hollows +and flats which should be burnished must not be +touched, if it be possible to avoid doing so.</p> + +<p class='c010'>8.—The clear size is prepared as follows: Take one +part of the melted glue, as already prepared, and mix +it with two parts of water, adding a little of the ox-gall +for the purpose already mentioned, and apply this +mixture hot, when required, using a bristle brush for +the purpose.</p> + +<p class='c010'>9.—The next step will be to prepare, for the purpose, +those portions of the frame which require to be burnished. +They must be coated with from three to four +coats of burnish-size. Those portions of the composition +work which are to be burnished should have one +or two preliminary coats of Paris white, applied rather +thicker than the white coats of pipe clay; and these +coats of Paris white are prepared in the same manner +as are those of pipe clay. These coats, of course, must +only be applied after the portions of the moulding +which are to be burnished have been filled up and +smoothed down. The filling up is done with thick +whiting, and the smoothing down is to be done with +a wet rag.</p> + +<p class='c010'>10.—Many gilders use, as a primary coating for the +burnish-size, a preparation which is called <i>yellow clay</i>. +This yellow clay is supplied by dealers, and is to be +mixed in just the same way that the burnish-size is. +It gives a more elastic bed for the burnishing process; +but the same result may be had by giving an extra coat +or two of the burnish-size. I do not recommend its +use, particularly for beginners. It only serves to complicate +a process that is already complicated enough.</p> + +<p class='c010'>11.—The burnish-size, as it is supplied by the dealers, +is not in a condition to be at once used, but must +be prepared for that purpose in the following manner:</p> + +<p class='c010'>Take some of the crude burnish-size and mix it in +a cup with water, add but little water at a time, and +mix thoroughly, until the mixture barely drips from +the spoon with which it is being mixed. Now add a +teaspoonful or two of the hot glue already prepared. +On stirring this up, the mass becomes very thick. +Continue to add cautiously more glue until the whole +begins to thin down, which it will do almost immediately. +Perfect success in the burnish work depends +almost entirely upon the proper mixing of the burnish-size. +The various stages of the process must be +invariably observed, just as they have been here described. +If the operator exercises ordinary care only, +he will rarely make a failure; though sometimes failure +will occur, in spite of all precaution.</p> + +<p class='c010'>This lot of burnish-size may be treated also as a +stock to be used from as required. Owing to the carbolic +acid which has been mixed with the glue, it will +keep from decomposition an indefinite length of time. +Without that antiseptic quality imparted to it, it would +spoil in a few days.</p> + +<p class='c010'>As now mixed, it will be found rather hard for the +final coat or two, and it must be thinned down with +thinner glue, or simply with water, for these coats; +but for the first two coats it will be about right, and +it must be made thin enough to lay smoothly and +evenly on the flats and hollows without clogging the +brush. When applied to the ornamental parts, it may +be applied thicker. This burnish-size must be strained +through the strainer. These strainers are procured +from the dealers in gilding materials. Of course, the +size will not run through the strainer, but it must be +worked through by means of a bristle brush. It may +as well be said here that all preparations should be +strained, so as to avoid any particles of sediment which +may be in the materials.</p> + +<p class='c010'>12.—Two or three coats of this prepared burnish-size +must now be applied to those parts which are to +be burnished, using a round camel’s hair brush for the +purpose. These coats must be laid on very smoothly +and uniformly. The first coat will go on rather +crudely, owing to the absorption of the size by the +under surface; but the succeeding coats go on more +freely. The size should be applied warm, not hot, +and the brush used for the purpose should be stirred +up frequently, so as to separate the hairs and allow it +to work freely. The surplus quantity must be removed +from the brush by drawing it across the sides +of the cup. The two final coats should be applied in +the same manner, but the size used must not be so +strong with glue.</p> + +<p class='c010'>When the final coat is dry, it will then be ready for +the application of the gold leaf.</p> + +<p class='c010'>13.—The burnishing of a frame is generally done +before the oil gilding. The application of the gold +leaf is made in the following manner:</p> + +<p class='c010'>With the graduated glass measure, mix one part of +alcohol with three parts of water. This solution, +which is called <i>gin-water</i>, is the medium by which the +gold leaf is applied and affixed to those parts which +have been coated with the burnish-size. Lay the +frame in a convenient position to work upon it, and +have the gilding cushion, the knife, the tips and the +gold leaf conveniently placed for use. The customary +way of proceeding is to blow from the book on to the +cushion as many leaves as it may be convenient to use. +Some expertness is required to perform this operation +successfully, and I believe that the time required to +obtain this expertness is employed to better advantage +in removing from the book, with the aid of the knife, +a leaf at a time, when it is required to cut one into a +number of pieces; or to cut the leaf as it lays in the +book, either with the thumb-nail or with the knife. +Of course, this will be a matter of choice with the +gilder, as to how he will proceed; and he will be altogether +governed by the greater facility with which he +can work with either method. When the leaf has +been cut into the required size for use, lift, by means +of the tip, first drawn across the hair of the head, a +piece of the gold leaf, and, after wetting thoroughly +with the gin-water the portion where it is to be laid, +using a camel’s hair brush for the purpose, apply the +gold quickly.</p> + +<p class='c010'>There seems to be in the gold an occult attraction +towards the gin-water; for the leaf is at once drawn +to it, and care must be exercised to have the leaf applied +at once as nearly right as possible, for where it +goes, there it must remain. It must not be touched +until dry; although a cyclopædia informs us that the +leaf must be pressed down with a camel’s hair brush. +Such a proceeding would result in anything but a +nice state of affairs, as any one will find who might +make the experiment.</p> + +<p class='c010'>14.—Never retouch the gold until dry. If the leaf +cracks on going on, which it will do in inexperienced +hands; do not mind it, but proceed to lay the gold +where required. On moistening with the gin-water, +be careful not to touch gold already laid, but wet +close up to and adjoining it, and let the next piece of +leaf lay or lap a little over the first. The moisture +runs from the one into the other and makes the junction, +when dry, complete.</p> + +<p class='c010'>15.—When the lay is completed and dry, proceed to +patch up any cracks and imperfections. This is done +by using the number 6 or 8 lettering pencil, and with +its long and flexible point, filled with sufficient of the +gin-water, wetting the cracks and imperfections one +by one and applying pieces of the gold leaf of the required +sizes to cover them up completely.</p> + +<p class='c010'>These pieces at once adhere to and join the lay +perfectly, and, when they come to be burnished over, +never show in the least where they have been applied, +unless the burnish-size is too harsh and hard. In +this case, the double layer of gold is brought out.</p> + +<p class='c010'>16.—In about an hour or so, for the flats and hollows, +and rather longer for those places where the moisture +settles and collects, and consequently remains longer, +the lay will be ready to be burnished. The burnisher +should be held at an angle, not too perpendicularly, +and applied to the gold, finishing as you go along, +and burnishing only a small piece at a time. Burnish +right over the leaf, just as it has been laid, without +brushing off the loose gold leaf.</p> + +<p class='c010'>17.—Burnish over the loose and the firm gold together. +Sometimes, and most generally, there will be +imperfections in the burnishing when first completed. +These may arise from imperfect adhesion of the leaf, +or from the leaf rubbing off when the burnish-size has +been made too strong with glue, and so the surface has +become harsh and hard. These imperfect places may +be repaired by simply rubbing them with a wet rag to +remove any leaf still adhering, and, when dry, going +over them with a thin coat or two of burnish-size and +relaying them with gold; but using the least moisture +possible, or otherwise a stain will appear around the +edges where the moisture has settled. Of course, such +places must be reburnished. No moisture should ever +be allowed to get on the leaf where another piece of gold +leaf is not at once affixed, as otherwise a stain will be +made which will mar the uniform purity of the burnish.</p> + +<p class='c010'>18.—Sometimes the surface will chip under the burnisher, +particularly about an edge or corner, when too +much pressure is applied. This may arise from several +causes, but most generally does from the fact that +the first and second coats of size have not been of the +proper strength, and consequently have a tendency to +crumble when the burnisher is applied with more than +ordinary force.</p> + +<p class='c010'>19.—In very warm weather, gilders are in the habit +of putting a piece of ice in the gin-water. The object +of this is not particularly clear. It is claimed for it, +however, that it causes the gin-water to lay better +on the surface of the burnish-size.</p> + +<p class='c010'>If a chip should occur in a prominent flat, there is +no remedy but to wash off the gold leaf with a wet +rag, and down to the hard finish, and to re-do the +side entirely over. When not too prominent, fill up +the chipped place with Paris white, and when dry, +scrape smooth with a penknife, and after giving two +or three coats of burnish-size, re-lay the gold and reburnish.</p> + +<p class='c010'>Be careful, when burnishing edges and corners, to +bear as lightly as possible with the burnisher, in order +to avoid chipping.</p> + +<p class='c010'>20.—Marks in the burnish sometimes appear which +seem to be stains, and which branch off in many +ways. Such defects are most probably caused by the +gin-water being too strong.</p> + +<p class='c010'>21.—The next step will be to apply the oil gold-size +to these parts which have been left bare of gold and +which have been thoroughly sized with the clear +size. It is customary to previously go over with +clear size these places which have been touched with +burnish-size and which have not received any coating +of gold; otherwise the oil-size would be absorbed and +would leave no tacky surface to which the gold leaf +would adhere. Sufficient of the gold-size should be +taken from the can containing it, after first stirring +the gold-size up thoroughly, so as to mix it completely +with the oil which generally settles on top of it. A +piece of tin or glass is the best thing to work from, +and the bristle brush with which the size is to be +applied should be well rubbed on it from time to +time, to distribute the size thoroughly through the +brush.</p> + +<p class='c010'> The size must be applied thoroughly to the frame, +not too freely, so as to run and settle in hollows, but +just enough to cover the surface with a complete coating. +Be particular to work the size into all corners +and crevices. The brush should not at any time be +overcharged with the size. If the size is not evenly +distributed over the frame, those places where it +settles will simply coat over with a film, leaving the +size underneath still fluid, and when the gold comes +to be rubbed in with the blender, the film will quickly +rub off, and the gold leaf will consequently not adhere.</p> + +<p class='c010'>If any of the oil-size has got upon the burnished +parts, which in spite of all care will occur at times, it +must be rubbed off with a chamois-skin and if such +places are still dingy after the oil gilding, they will +admit of considerable polishing with the chamois.</p> + +<p class='c010'>22.—The coat of oil-size must now be allowed to dry. +The time required for this purpose depends altogether +upon the drying quality of the size. It is generally +made to dry in about ten hours and to retain its tacky +surface for several days. It is well to allow it to +stand for, at least, from twenty to twenty-four hours; +particularly in the winter time, as the more thoroughly +dry it is, the brighter will the gilding appear when +completed.</p> + +<p class='c010'>When this coating of oil-size has dried sufficiently, +it will be ready to have the leaf applied. The leaf, as +it is applied, is pressed down gently with a pad of +cotton batting. When the frame has been completely +covered, take a soft fitch blender and with it distribute +the gold thoroughly into corners and depressions. +Be careful not to rub too hard, or the gold will be +either rubbed off or assume a greasy appearance. +If this be all properly done, the gold will have +almost as bright and polished an appearance as if it +had been burnished.</p> + +<p class='c010'>23.—After dusting the frame well, to remove as +much of the dust and particles of leaf as possible, +proceed to give these portions only of the frame which +have been gilded in oil a coat of finishing-size, which +is prepared in the following manner:</p> + +<p class='c010'>Take one part of the melted gelatine or glue, as already +prepared, and add to it four parts of water. Now, +with a camel’s hair brush, apply this finishing size, hot, +or nearly so, very sparingly, but very thoroughly. This +finishing size may be colored, if desired, so as to deepen +the shade of gold; using for that purpose, dragon’s +blood, gum gamboge or aniline yellow. Only one +coat of this size should be applied. This finishing-size +serves to give a uniform appearance to the gold, +slightly matting the metallic lustre of it, and having +the effect also to absorb and remove the loose gold +dust and particles still remaining. It also protects +the surface from becoming dingy from smoke or other +impurities which frequently prevail in rooms.</p> + +<p class='c010'>24.—If it should be desired to render the appearance +of the gold still duller or more matted, a very +thin coat of the ormolu, which is hereinafter described, +should be applied instead of the finishing-size. The +more matted the appearance of the surrounding gold, +the brighter and more lustrous will be the burnished +part. This is altogether a matter of taste and fashion, +sometimes a preference for one effect and sometimes +for another, prevailing with the public.</p> + +<p class='c010'>25.—Before the application of the finishing size, any +imperfectly covered places must be regilded, using for +a size the Japan gold size. This size sets in about an +hour, and for that reason is preferable to the ordinary +oil-size. The places to be regilt should be first gone +over with shellac varnish. Whenever gold is to be +regilt, it must be gone over with shellac, as otherwise +it will have a greasy appearance.</p> + +<p class='c010'>26.—Old frames that are to be regilt, should be first +washed clean and free from dirt, and then be given a +coat of shellac before the oil-size is applied. Where +any burnish has been, it must, of course, be washed +off before the reburnishing can be done.</p> + +<p class='c010'>Some gilders use shellac varnish in place of the +clear size, to size the frame for the oil gilding. It +works well enough on the composition parts, but on +the flats and hollows it dries so rapidly that it leaves +ridges and inequalities to such an extent that the +smoothness of the work is spoiled. For quick work, +however, and by using the shellac very sparingly and +giving two coats of it, very good results are to be +had.</p> + +<p class='c010'>27.—Flats are generally matted. Occupying, as they +do, a prominent and conspicuous position, being next +to the picture which is to occupy the frame, they require +to be very perfectly done, and they are therefore +done in <i>water-gilt</i>, and subsequently matted with a coat +and sometimes with two of ormolu. The flat to be +matted is proceeded with as follows:</p> + +<p class='c010'>After all imperfections have been removed, it must +be rubbed smooth with very fine sand paper and polished +with a moist rag. Three coats of burnish-size +are then applied very evenly and smoothly to it, avoiding +all marks of the brush where possible; or two coats +of yellow clay, prepared in the same manner as the +burnish-size, and afterwards two coats of burnish-size, +are given. When the final coat is sufficiently dry, the +flat must be polished with a piece of coarse paper, or +it may even be burnished, when time is no object. If +the inside edge should be intended to be burnished +after being laid in gold, that part must not be polished, +nor receive the coat of very thin glue water, +which is to be applied after the polishing process to all +that part which is to be matted. This coat of glue +water must be applied very evenly and freely to the +flat, avoiding bubbles if possible. When dry, the flat +is all laid in gold in the same manner as proceeded +with when laying the gold for the burnish work.</p> + +<p class='c010'>28.—The best plan to lay a perfect flat is to double-gild +it, which consists in simply laying on another +coat of gold after the first has dried. The first coat +when dry, as well as the second, must be rubbed +smooth with a wad of cotton batting. Care must be +exercised during this process, in order to avoid, as +much as possible, disturbing the lay. To lay a second +coat over the first, the gin-water must be washed +over at once, so as to avoid washing up the gold +leaf.</p> + +<p class='c010'>29.—After the gold has been rubbed smooth with the +cotton, a coat of ormolu must be applied to the unburnished +part, to impart to it the matted appearance +required. The ormolu should be applied warm and +by means of a camel’s hair brush, and the application +must be very nicely and carefully done.</p> + +<p class='c010'>30.—The following is the manner in which the +ormolu is prepared:</p> + +<p class='c010'>Take a teaspoonful of either the tincture of gum benzoin +or of white shellac varnish, and mix it in a cup +with about twice or three times its bulk of the highest +proof alcohol. Now have ready a hot solution of glue +or of gelatine, of about the same strength as that of +the finishing size. The quantity should be about one-half +a teacupful. This must be poured quickly and +all at once into the solution of the gum benzoin or of +shellac, and the result will be a perfect emulsion of +the gum, which will be of a milky white appearance. +This, of course, should be strained, and is to be applied +as already described. If the first coat should +appear spotty and streaky, a second one will be necessary. +In applying either the finishing size or the +ormolu, it is well to have a lump of alum convenient, +to which, from time to time, the brush may be applied. +This will, in the case of either, cause it to go +on in a better manner and to lay more evenly.</p> + +<p class='c010'>The ormolu, as prepared by the above method, will +keep for any length of time. It may also be slightly +colored, if it be desired to give the gold a deeper +tinge.</p> + +<p class='c010'>31.—The frame will now be about finished, as far as +the gilding is concerned. The sections must now be +returned to their respective places and securely nailed +together.</p> + +<p class='c010'>The outside edge of the frame, if it has been burnished, +will require no further preparation, but if it has +been gilded in oil, or if it has simply been laid in +water, it should have a coat of white spirit varnish +applied with a camel’s hair brush. This coating of +varnish will render the layer of leaf sufficiently hard +to be handled without injury to it.</p> + +<p class='c010'>32.—When the edge has not been gilded at all, it is +the practice to give it two coats of yellow ochre, +mixed about as strong as those of the pipe clay and +applied with a bristle brush. The yellow ochre +should be strained before being applied.</p> + +<p class='c010'>33.—Before anything has been done to the frame, +and after the sections have been taken apart, it is well +to protect the outside corners with pieces of wood +securely fastened to the back. This will prevent +them from being injured while being gilded. Gilders +generally suspend a frame when not being worked +upon, to some projection, to keep it out of the way of +injury; but, with the corners protected, it may be +stood anywhere with safety.</p> + +<p class='c010'>34.—In the foregoing description of the process +of gilding, the burnished part has been described as +being done before the oil gilding. The oil gilding +may, however, be done first and the burnishing afterwards. +This manner of proceeding is generally practiced +in Europe, but not so much in this country.</p> + +<p class='c010'>However, when much burnishing is to be done, +this method is recommended. All those parts of the +frame which are to be oil gilded must be coated with +the oil gold-size; and wherever this size has got upon +places to be burnished, it must be scrupulously wiped +off. Then, after the size has set and before it has +been gilded, all these parts which are to be burnished +must be gone over with a coat or two of pipe clay, to +which has been added an extra quantity of ox-gall, in +order to cause these coats to lay perfectly over any +spots which the oil-size may have touched. Then +apply the burnish-size, as previously described. +When burnishing, be very careful not to touch with +the burnisher those parts which have been oil gilded, +and do not burnish too close to them.</p> + +<p class='c010'>35.—Sanded work is used very much in combination +with composition on picture-frames. The sand, or +crushed quartz, is made to adhere by means of glue. +Such sanded work must have a very thorough coating +of Paris white before being gilded.</p> + +<p class='c010'>36.—Plain wood, where the grain is to be shown +after being gilt, must be well treated with shellac before +having the size applied.</p> +<div class='pbb'> + <hr class='pb c000'> +</div> + +<div class='chapter'> + <h2 class='c008'>THE BRONZING PROCESS.</h2> +</div> + +<h3 class='c011'>I.</h3> + +<p class='c012'>The implements and materials required for the +bronzing process are the same as those required for +gilding, with the exception of the gold leaf, the cushion +knife and tips; and with the addition of the <span class='fss'>BRONZE +POWDERS</span> of the necessary colors, and of <span class='fss'>COPAL VARNISH</span>. +These may be obtained from any dealer in +art materials; but, of course, those of the best quality +only should be used.</p> + +<h3 class='c011'>II.</h3> + +<p class='c012'>1.—The frame which is to be bronzed must be proceeded +with in the same manner as described in the +gilding process. That is to say, all imperfections +must be first remedied and the frame put in perfect +order.</p> + +<p class='c010'>2.—Two coats of pipe clay are then to be applied to +all of the composition work, using a bristle brush for +that purpose. The pipe clay is to be prepared as already +described for the gilding process.</p> + +<p class='c010'>3.—Two coats of burnish-size must next be applied +all over the frame, using a bristle brush instead of a +camel’s hair brush on the composition parts. For the +smooth parts of the frame, a camel’s hair brush may +be used, as a more even surface may be obtained in +that way. The burnish-size should be applied very +sparingly, so as not to clog up the ornamental parts +of the frame. After having given the frame two +thorough coats of the burnish-size, a third and final +coat of the same size must be applied. To this final +coat, before being applied, should be added a small +quantity of powdered lamp black. The addition of +the lamp black is not absolutely necessary, however, +as the object for which it is used is simply to give a +darker appearance to the final coat, which, in the +crevices and hollows, when the whole work receives +the varnish coat, then assumes that antique appearance. +The lamp black rather impairs the burnishing +quality of the size, though not to any serious extent.</p> + +<p class='c010'>4.—After the final coat has been applied, put some +of the bronze powder which is to be used into a small +saucer. A very little bronze powder will go a great +way. In another saucer, pour a weak solution of +gelatine or of gum arabic. This must be just sufficiently +strong to hold the bronze powder on the +frame. The usual way of proceeding, in order to +apply the bronze powder, is to dip the fingers first +into the gelatine or gum arabic, and then into the +bronze powder, and proceed to rub it on to the work +to be bronzed. It may be applied with a bristle +brush, and, where the powder is to be inserted into +cracks and crevices, it must be so applied. The object +of using the fingers is, that with them a smoother +and thinner coat can be obtained; and the smoother +and thinner the coat, the better will it burnish.</p> + +<p class='c010'>5.—When the frame has been completely covered +and the coating is sufficiently dry, all the flat and +smooth parts of the frame, and all those parts of the +composition work also which are in relief, must be +completely burnished. This part of the work requires +a great deal of patience and time; but one is fully +repaid for the labor bestowed, in the brilliancy of the +work when done.</p> + +<p class='c010'>6.—After the frame has been burnished sufficiently, +a thin coat of copal varnish is to be given all over it. +The varnish is intended to protect the bronze from +tarnishing through contact with the air, as well as +from any moisture which might accidentally get on +the frame, and which, of course, would remove the +film of bronze.</p> + +<div class='figcenter id003'> +<img src='images/i_35_pp.png' alt='' class='ig001'> +</div> + +<div class='pbb'> + <hr class='pb c000'> +</div> +<div class='tnbox'> + +<div class='nf-center-c0'> + <div class='nf-center'> + <div><b>Transcriber’s Notes</b></div> + </div> +</div> + + <ul class='ul_1'> + <li>Missing or obscured punctuation was silently corrected. + </li> + <li>Typographical errors were silently corrected. + </li> + <li>Inconsistent spelling and hyphenation were made consistent only when a predominant + form was found in this book. + </li> + </ul> + +</div> + +<div style='text-align:center'>*** END OF THE PROJECT GUTENBERG EBOOK 75345 ***</div> + </body> + <!-- created with ppgen.py 3.57e on 2025-02-10 14:55:36 GMT --> +</html> + |